For years, Nina Stemme has been regarded as one of the great interpreters of the Wagner repertoire. Her Isolde has been widely admired by audiences around the world at some of the greatest theaters such as the Metropolitan Opera, Glyndebourne, and Berlin. In May 2004, she bid farewell to the role in a stage production, and now June 1, she will sing her final Isolde in concert in its entirety in her debut with the Philadelphia Orchestra.

The farewell also marks a new path for Stemme as she starts to take on a new repertoire and passes the baton to a new generation.

OperaWire spoke to the soprano in anticipation of her Philadelphia performances regarding Isolde, Wagner, and what new roles she looks forward to singing.

OperaWire: These performances will be in concert. What is the difference between performing “Tristan und Isolde” in concert and a stage performance?

Nina Stemme: In a concert, I can concentrate more on the actual musical storytelling because the story is being told in the orchestra. I mean, Isolde is sometimes even lying on top of the truth that you can hear in the orchestra. And it’s wonderful to be able to focus on these colors because you hear… colors when you’re on the same platform as the orchestra in a different way from when you’re onstage, [with all the] costume, make-up, lights, and everything you have to take into account.

OW: You recently collaborated with Yannick Nezet Seguin on “Die Frau ohne Schatten.” How has your collaboration developed over the years?

NS: It [was] a big leap because one of the first concerts I did when I was in exams in opera school was in the concert hall in Sweden with the Royal Philharmonic Orchestra in Stockholm, and Yannick was conducting. It was about 30-some years ago. And then it was a big leap [to] “Die Frau Ohne Schatten” in the fall. But I enjoyed the experience very much. When we first collaborated, we were so young and innocent. We were beginners, both of us in a way, probably I even more than [him].

And now to come back in this super production of “Die Frau ohne Schatten,” [it is] wonderful to work with him. I really enjoy that.

OW: You and Stuart Skelton have done this work together a lot around the world. How has that collaboration developed?

NS: It works very well because we know each other on the stage so well, and he’s very musical. So it’s a give and take and I mean, we just realize that you’re different every time you step onstage. So I really look forward to working with him again.

OW: Isolde has played a vital role in your career. How has this role developed over the years? What does it mean to you?

NS: It’s the ultimate role because it has so many shades, and I feel so grateful that I was able to develop with Isolde in my repertoire [ever] since I started as a lirico spinto… when I started to sing this role in 2003 — and I started to study it in the year 2000. [Even] when my voice became more dramatic and a bit heavier, [I] still had things [I could say about this] young woman.

When Stuart and I did it in Aix-en-Provence, we were able to portray the protagonists from the perspective of our actual ages. And it’s possible. I mean, love is love and hatred is hatred, no matter what age you are.

So, of course, the amplitude is sort of heightened a little bit… because my voice has grown. My experience makes me able to do more with my voice and the physical abilities change with age as well. So this would be the last time I sing this role in its entirety.

OW: What does saying goodbye to this role mean for you?

NS: I’ve been planning this for so many years. With all the other soprano parts that I have left behind, I enjoyed having had the privilege to sing them and I enjoyed singing them, but I also don’t regret leaving them behind and moving on.

‘Everything has its own time,’ as the Marschallin says.

And this, this has been my philosophy throughout my career. No matter what repertoire I’ve been singing, I [always] feel somehow musically like a Mimi or a Butterfly, deep within the roles that I sang in the ’90s.

OW: As a Wagnerian, what do you think is the key to longevity? Was singing more Italian roles key to that?

NS: When I was young, I always said that the ability to float to pianissimo was a life insurance for the voice. And I think that was right. Although I don’t use the same type of pianissimo anymore, you know, it’s still there. And that’s also why I was able to keep this Isolde for so long in my body: because the muscular memory goes back 25 years. So, it’s crucial.

OW: What is the key to pacing a Wagner role?

NS: There’s one step in the learning process [that is vital:] always sort out the most difficult places and put those under your skin, into your throat, and [onto] your mind, so that they don’t cause any fear in you. Overcome your fears and have fun when you learn it. And then, of course, use the rehearsal period well. Be able to know, ‘how [do] I feel today, and how I will hopefully feel tomorrow?’ Save your resources where needed. [Ask yourself,] ‘for whom is this rehearsal?’ If you have an orchestra rehearsal, for instance, always think, ‘which parts [do] I really need to sing? Which parts do I need to sing for the orchestra to hear, or the conductor, and which parts do I need to sing for myself?’ So you have to think tactically, in a way. That happens for me almost automatically these days.

OW: What excites you about your Philadelphia Orchestra debut?

NS: I haven’t had a chance [to think about it] because my calendar was so full. I’ve been in the States since the end of April. I made my Carnegie Hall recital debut and performed for the third time with the Cleveland Orchestra, and now my debut with the Philadelphia Orchestra. I’m totally excited about it because it’s one of the best orchestras.

OW: After you say goodbye to Isolde, what are some of the repertoire choices that you’re looking forward to?

NS: Well, I’m singing Kostelnička in “Jenůfa,” and I will keep that one for sure. A couple of Ortruds for sure, and Klytaemnestra and Waltraute. I will also sing more concerts because, since I am singing more mezzo works, there is more concert repertoire for me to indulge in.

I enjoy being onstage, but I don’t have to be onstage all the time anymore. It’s time for the younger generations to take over.